Lady In Blue
Lady In Blue eftir franska málarann Maxime Dastugue (1851 – 1909); andlitsmynd, mynd- og tegundarmálari og nemandi franska akademíska málarans og myndhöggvarans Jean Léon Gérome (1824 – 1904)
A beautiful and graceful figure portrait of a young lady wearing a full length blue hooded “puff” eða “leg o’ mutton” sleeve coat with black opera length leather gloves, holding a possible parasol with both hands; just below her waist.
Lady In Blue is a retouched digital art old masters reproduction of a public domain image.
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Jean-Leon Gerome (11 maí 1824 – 10 janúar 1904) var franskur málari og myndhöggvari í þeim stíl sem nú er þekktur sem akademísk fræði. Málverk hans voru svo mikið endurgerð að hann var “líklega frægasti núlifandi listamaður heims árið 1880.”[1] Umfang verka hans var meðal annars sögulegt málverk, Grísk goðafræði, Orientalismi, andlitsmyndir, og önnur viðfangsefni, að koma fræðilegri málarahefð á listrænan hápunkt. Hann er talinn einn mikilvægasti málarinn frá þessu fræðitímabili.
Í 1840 hann fór til Parísar, þar sem hann lærði undir Paul Delaroche, sem hann fylgdi til Ítalíu í 1843. Hann heimsótti Flórens, Róm, Vatíkanið og Pompeii. Við heimkomuna til Parísar kl 1844, eins og margir nemendur Delaroche, hann gekk til liðs við atelier Charles Gleyre og stundaði nám þar í stuttan tíma. Hann fór síðan í École des Beaux-Arts. Í 1846 hann reyndi að komast inn í hið virta Prix de Rome, en mistókst á lokastigi vegna þess að fígúruteikning hans var ófullnægjandi.
Málverk hans Hanabardaginn (1846) er akademísk æfing sem sýnir nakinn ungan mann og mjög þunnt drapaða unga konu með tvo slagsmálahana, með Napólí-flóa í bakgrunni. Hann sendi þetta málverk til Parísarstofu í 1847, þar sem það færði honum þriðja flokks verðlaun. Þetta verk var litið á sem fyrirmynd ný-grískrar hreyfingar sem hafði myndast út frá vinnustofu Gleyre (including Henri-Pierre Picou and Jean-Louis Hamon), and was championed by the influential French critic Théophile Gautier, whose review made Gérôme famous and effectively launched his career.
Gérôme abandoned his dream of winning the Prix de Rome and took advantage of his sudden success. His paintings The Virgin, the Infant Jesus and Saint John and Anacreon, Bacchus and Eros took a second-class medal at the Paris Salon in 1848. Í 1849, he produced the paintings Michelangelo (also called In his Studio) and A Portrait of a Lady.
Í 1851, he decorated a vase later offered by Emperor Napoleon III of France to Prince Albert, now part of the Royal Collection at St. James’s Palace, London. He exhibited Greek Interior, Souvenir d’Italie, Bacchus and Love, Drunk in 1851; Paestum in 1852; and An Idyll in 1853
Í 1852, Gérôme received a commission to paint a large mural of an allegorical subject of his choosing. The Age of Augustus, the Birth of Christ, which would combine the birth of Christ with conquered nations paying homage to Augustus, may have been intended to flatter Napoleon III, whose government commissioned the mural and who was identified as a “new Augustus.
A considerable down payment enabled Gérôme to travel and research, first in 1853 to Constantinople, together with the actor Edmond Got, og inn 1854 to Greece and Turkey and the shores of the Danube, where he was present at a concert of Russian conscripts making music under the threat of a lash.
Í 1853, Gérôme moved to the Boîte à Thé, a group of studios in the Rue Notre-Dame-des-Champs, París. This would become a meeting place for artists, writers and actors, where George Sand entertained the composers Hector Berlioz, Johannes Brahms and Gioachino Rossini and the novelists Théophile Gautier and Ivan Turgenev.
Í 1854, he completed another important commission, decorating the Chapel of St. Jerome in the church of St. Séverin in Paris. His Last Communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works.
To the Universal Exhibition of 1855 he contributed Pifferaro, Shepherd, and The Age of Augustus, the Birth of Christ, but it was the modest painting Recreation in a Russian Camp that garnered the most attention…